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Wee B. Bridges

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Everything posted by Wee B. Bridges

  1. And out of curiosity, where did you learn this if you do not mind sharing?
  2. Thanks Peter K-G I suspect Dictum is trying to be competitive in the market place with their c:dix line—English boxwood—maybe. I am sure quality Buxus spp. is getting hard to come by. I agree not too impressed at first glance, but maybe after you work your magic they can be salvaged Years ago before the merger, Dick used to stock 'Otto Tempel' until they had some kind of falling out— selling the entire inventory at cost like a fire sale, that's if I have the story correct. A real bargain at the time non-the-less. cheers !
  3. It's not the same it's another one I did previously, I'm going to do the same thing with this one The OP is a little misleading—it is obvious it is not a before and after photo. I would be interested in seeing the one to one (before and after) comparison however. --------------------- side-note: Yes I agree, Otto Tempel makes a fine product.
  4. I would say no reliable indication of anything. Especially in some of the examples of the post above. Typically the top locating pin at the neck is lost when cutting the neck mortise. However, now the well cut mortise itself is used to register the top.
  5. I always use locating pins, and don't give it much thought other than the fact they are simply artifacts of the making process. What is visible is end grain and typically will look darker no matter what. I can not say I ever used ebony however
  6. You say nothing of the type of clamps you are using? Maybe you need a different clamping method/ different clamps?
  7. And you saw this recent post ? https://maestronet.com/forum/index.php?/topic/338182-hi-my-name-is-vernici-liuteria/
  8. Historically two names come to mind— Duiffoprugcar and Derazey. Kathie Lenski donated a violin which belonged to her father, a fine example of a Derazey—to the University of South Dakota 'National Music Museum:' http://collections.nmmusd.org/Violins/Derazey/5914/Derazey.html
  9. Hi not telling— Prettier is not our concern here, but maybe you question was rhetorical . We can witness the historical precedence; in the beginning we are establishing our working habits. Surely this is well documented in other threads, but basic carpentry if not basic violin 101 ? Simple enough to execute, and any advantage we can give our instruments to survive the test of time, future restorations and repairs. It does not take much inspection of the photos above to see the vulnerability of the corner point to failure if you have one side flat grain the other end grain, leaving a island of soft grain. Again this more pertinent when using the Spruce, and more forgiving when using Willow. (Compare this vulnerability to your purfling points in the channel of spruce and how easily it can fail.) -this vector down the middle splits the differences, making it easier to control your gouge when carving the corner (flat grain vs end grain.) -gives natural reinforcement to point of the corner with the more dense winter growth ring -expansion and contraction of the corner is more uniform (flat grain vs end grain,) from humidity changes and subsequent aging of the blocks and ribs over time. Obviously the larger the 'family' instrument the more impact.
  10. You are on the right track. Keep the ribs on the mold to scribe the outline of the back and top plate and a pencil line for the overhang. Pencil marks tend to get fuzzy over time as your work continues. —the scribe is definitive and" mostly" does not vanish over time, —it is just a scratch, not a "dig" into the plate surface Once the garland is trimmed & free, dry clamp it back to the definitive scribe line on the outer edge of the plate, now scribe a line on the inner edge of garland. In this way you have registration marks inside and out for both completing the plates and the glue up of the back. Quickly you will realize it is beneficial to be able to see both side of the ribs as you look for the registration mark on the glue up of the back, to push or pull it into place. You do not want to leave lead marks in tight places if you use a pencil, very hard to clean up later. A pencil has it place and so does a scribe. Finalize the plate outline only after the gluing is complete, in this way you can adjust for any variation in the edge overhang to make it uniform. This is the beauty of this work flow. No matter how hard you try things still can shift a bit under the wet glue and in the clamping. This gives you a degree of compensation. Now you are ready for the edge work.
  11. Nice enough looking corner however, If I had the choice I would run the grain orientation into the corner when splitting out and fit blocks, especially if I was using spruce. Good luck and have fun with your current viola build ! ex. illustration I plucked off the web:
  12. From the link above, I would be more than a little dubious using brass rings; or any metal for that matter. I could see using the carbon fiber for repair work, maybe it comes from a different source. addendum: Yes, I see now from my notes: method developed by Jerry Pasewicz for inside pegbox repair , ref published article in the Strad(?) https://trianglestrings.com/reinforcing-cracked-pegbox-wall/
  13. So hard to tell from those photos, but looks to be a tropical hardwood. Teak is known to turn from greenish to brownish.
  14. Lesson learned. Once you have a perfect fitting post, much easier to make a second post with your modifications applied. In this way you can easily fall back for comparison—the benefits are obvious.
  15. Good eye Jim, in that low resolution photo—yes the leather strap is continuous the length of the long arch, held in place on the ends with clothes pins. It's maybe ~40mm wide. I used to reverse the clamps as you allude to, which makes sense, however I have gotten away from that orientation. I found it is just easier in the long run, maybe if that wooden stand was taller there would be more room and not as awkward reversed.
  16. From your link: I see problems with that design for bass bar clamps, notably the one arm being in the same plane—with no offset(?) Maybe they would work with glueing on added cork or leather to the bearing surface—which typically I would do anyway for surface protection. Recently someone posted a video of the Stentor factory where they used no bass bar clamps in the their production. Maybe someone can post the link.
  17. Well, you need a bench. I do like old verse new that is for sure. True enough an Ulmia is going to cost more and hard to come by used. It appears to be a Face vise mounted on the shoulder. Is this for free standing or against a wall? Got the room to get around a 8' bench if it is free standing in the middle of the room. You bolt it to the floor for stability and add braces if necessary. Can you make a better bench to suit your needs ? Only you can answer these questions.
  18. I keep my knives in an easily accessible drawer in my main toolbox on the bench (see pic of the open drawer, upper right.) I always lay them in the same order front to back so I can put my hands on the one I'm after, I do alternate the direction of the blade so there is no chance of metal hitting metal
  19. It’s pretty clear no one wants to say it: Poltergeist.
  20. It appears not unlike a graft line—but I suspect this was an old crack that healed itself while the tree was still alive. You typically pay more for these features.
  21. Disfigurement? I would call it a unique character that is a distinguishing feature. Natures beauty. Much like incorporating a knot in the making process when you have a tonally valid piece of wood worth using.
  22. Yes it is true typically quarter sawn ribs. Side note: certainly makes for easier (rib) repair in the long run. However, for every rule in violin making you will find an exception in classic Italian violin family instruments. Lets just say you will not be the first to use slab sawn ribs— Have fun !
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